On this week’s pick we bring you James Blagden’s animation “Dock Ellis & the LSD No No”. The short film chronicles Ellis’ infamous game where he pitched a no hitter while on LSD. Although the animation is entertaining, Ellis’ own account of the historic event is what really makes this video work.
via No Mas:
Sadly, the great Dock Ellis died last December at 63. A year before, radio producers Donnell Alexander and Neille Ilel, had recorded an interview with Ellis in which the former Pirate right hander gave a moment by moment account of June 12, 1970, the day he no-hit the San Diego Padres. Alexander and Ilels original four minute piece appeared March 29, 2008 on NPRs Weekend America. When we stumbled across that piece this past June, Blagden and Isenberg were inspired to create a short animated film around the original audio.
For more information please chec out No Mas.
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November 16, 2009 · Print This Article
Guest post by Damien James
I walked into Woman Made Gallery on Wednesday, October 14th, to view and review the Beatrice Fisher retrospective, which surveyed fifty years of art making. Intrigued by the gallery’s website, which noted that this was Fisher’s first solo exhibition and that she had studied under such renowned Chicago artists as Karl Wirsum and Don Baum, for better or worse I had fairly high expectations.
Everything had just been hung, and the space was still a bit of a mess—the opening wasn’t for two more days and I hadn’t let anyone know that I was coming—then I realized that the mess consisted mostly of Fisher’s work, of which there was just too much to fit on the walls. (I was told that Fisher had thousands of pieces in her Evanston studio. Thousands was later corrected to hundreds.) After a moment of orientation amidst the clutter, I was able to focus on the walls, on her art, and was instantly taken, overtaken, by not only the range of her work but its consistent beauty and energy.
Fisher’s Attachment/Separation series focuses on divorce in the most physical terms; bodies in surreal Siamese union, some split apart by knives or attached by zippers rendered with a level of detail which brings the stark flatness of the paintings and their sharp lines into a kind of focused intimacy that looks cleanly through you. At least, they seemed to look through me. Some are paintings of women and men joined at the hips or shoulders, others of women joined to women, skin stretching into long bands waiting to be broken, their faces staring so pointedly, hypnotically. On another wall were military-themed works which dressed disembodied penises in camouflaged field gear, while across the room a group of small paintings of Jesus clad in ruby slippers and floating in the clouds shimmered. The slippers were glitter. Jesus had a beatific and tranquil face. Maybe it was the shoes.
Truthfully, there was so much work that this could easily have been a group show of six or seven entirely different artists, though it wasn’t difficult to see the common thread—the unique handwriting as it moved through all the pieces; the tongue-in-cheek humor, the cultural critiques, the exploration of sexuality and religion—yet each period in her career seemed to point to the absolute need to make art, out of anything and everything available. It was without a doubt the life of an artist on the walls of Woman Made, not just her art. Read more
Over the weekend, we received a tip about an online controversy surrounding news that New York artist Tom Sanford’s 2005 painting “The Assassination of Dimebag Darrell Abbott” will soon be auctioned for charity at Philips de Pury. (Note that Sanford is one of Bad at Sports’ regular New York correspondents). The painting depicts legendary guitarist and Pantera founder Darrell Lance Abbott on the night of his murder onstage during a Damageplan performance in Columbus, Ohio. (Also killed that night were Jeff Thompson, 40, Nathan Bray, 23, and Erin Halk, 29). When the website Blabbermouth posted a story announcing that the painting would be auctioned, numerous metalheads voiced a renewed sense of outrage and disgust via comment boards and forums like this one on Metal Underground. (Metafilter also picked up on the controversy).
Much of the anger seems to stem from the idea that Sanford is exploiting Abbott’s death by depicting the much-loved figure in a disrespectful and even lurid manner. And yet, if you read through the discussion on Metal Underground’s site, amongst the myriad “what a douche” comments and death threats (!) you’ll also find some polite dissension from metal fans themselves, as in this comment, by MetalBro4Life: Read more
Liam Gillick. That is right, the man whose imagination can take him anywhere. A transparent master of the question of Modernity? Cat lover? Designer/author/theorist/artist/architect? The son Donald Judd never wanted? Enigma cloaked in riddle? Relational Aesthetic celebrity? All these things and more… We at Bad at Sports try and get to the bottom of Liam’s magic in this hour-long interview.
The last element in Liam Gillick’s 4 part global retrospective, “Three perspectives and a short scenario” will run through January 10th at Chicago’s Museum of Contemporary Art.
Accompanying that exhibition, Gillick has produced “The one hundred and sixty-third floor: Liam Gillick Curates the Collection,” which is also be on view.
Liam Gillick emerged in the early 1990s as part of a re-energized British art scene, producing a sophisticated body of work ranging from his signature “platform” sculptures — architectural structures made of aluminum and colored Plexiglas that facilitate or complicate social interaction — to wall paintings, text sculptures, and published texts that reflect on the increasing gap between utopian idealism and the actualities of the world.
His work joins that of generational peers such as Rirkrit Tiravanija and Philippe Parreno in defining what critic Nicholas Bourriaud described as “relational aesthetics,” an approach that emphasizes the shifting social role and function of art at the turn of the millennium. Gillick’s work has had a profound impact on a contemporary understanding of how art and architecture influence, and are themselves influenced by, interpersonal communication and interactions in the public sphere.
This exhibition is presented in association with the Witte de With in Rotterdam, Kunsthalle Zurich, and the Kunstverein in Munich. It is the most significant and comprehensive exhibition of Gillick’s work in an American museum to date, comprising a major site-specific installation in the gallery ceiling as well as a presentation of his design and published works, and a film documenting projects from the entirety of his career. The MCA is the only American venue for the exhibition. Read more
The Galaxy Dress is the center piece of the “Fast Forward: Inventing the Future” exhibit at the Museum of Science and Industry in Chicago. The museum is celebrating its 75 years and has commissioned the GalaxyDress for their permanent collection.
The wearable dress made up of over 24,000 full color super thing LEDs, 4,000 Swarovski crystals & enough bateries to keep it on up to an hour at a time is something to be seen first hand and no photo or video recording does it justice. All this makes The Galaxy Dress the largest wearable display in the world.
Designed by Francesca Rosella and Ryan Genz, the London-based design duo behind interactive clothing company CuteCircuit